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The Study of Romola 

Topics and References 

An-anged for 

Literary Circles and Classes 

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Second Edition. 

Copyright, 1897, 1899, by 
Mrs. H. a. Daviuson, M. A.- 

No. I, Sprague Place, 

Set. -.J u^<" '• 

Albany, N. Y. 

Author of "The Study of Henry Esmond," "The 

Study of vSilas Marner," "Reference His- 

torv of the United States," etc. 






Topics and References for the Study of 
Romola. 

REFERENCES. 

Books which should be owned, "^ "^ 

A copy of Romola, not too valuable to mark. 

Life and Letters of George Eliot, edited by J. W. Cross. 

Life and Times of Savonarola, by Villari. 

A map of Florence, or a guide book. 

Two note-books. 

Noh\ — The Life of Savonarola may be obtained in one vol- 
ume, and there is an inexpensive edition of the Life edited by 
Cross. 

George Eliot's life and writings. 

Life and Letters of George Eliot, edited by J. W. Cross. 
(Blackwood's cabinet edition is most satisfactory.) 

George Eliot, by Oscar Browning, Great Writer series. 

George Eliot, by Mathilde Blind, Famous Women seiies. 

English Authors in Florence, by Kate Field, Atlantic Month- 
ly, December, 1S64. 

George Eliot, by F. W. H. Myers, Centurjr Magazine, Novem- 
ber, 1881, p. 57. 

Portrait of George Eliot, Century Magazine, November, 1S81, 
frontispiece, and p. 57. 

George Eliot's Life, by Henry James, jr., Partial Portraits 
and Atlantic Monthly, May, 1S85. 

The Life of George Eliot, by Frederic Harrison, Fortnightly 
Review, March, 1885. 



Scenes from the George Eliot Country, by S. Parkinson. 
Country of George Eliot, Century Magazine, July, 1885. 
Lives of Girls who Became Famous, by S. K. Bolton. 
Home Life of Great Authors, by H. T. Griswold. 
George Eliot, a Critical Study of her Life, Writings and 

Philosophy, by G. W. Cook. 
George Eliot and her Heroines, by A. G. Woolson. 
The Cheverels of Cheverel Manor. (The scene of Mr. Gil- 

iil's Love Story.) 
A complete set of George Eliot's works. 
The Essays of George Eliot. 

The history of Florence and of Savonarola's life. 

The Life and Times of Savonarola, by Villari. 

Plistory of the Commonwealth of Florence, by Trollope, vols. 

iii. and iv. 
The Makers of Florence, by Mrs. Oliphant. 
Commerce and Industry of Florence during the Renaissance, 

by W. G. Scaife. 
Lorenzo de Medici and Florence in the XV Centur5^ by E. 

Armstrong, Heroes of the Nations series. 
History of the Popes, by L. Von Ranke. 
History of the Middle Ages, by Henry Hallam, vol. IL, 

chap. iii. 
Age of The Despots, by J. A. Symonds. 
The Renaissance in Italy, by J. Burckhardt. 
The Romanes Lecture, 1897, Machiavelli, by John Morley. 
The Florentine Painters of the Renaissance, by B. Berenson. 
Mornings in Florence, John Ruskin. 
Cosimo di Medici, Foreign Statesmen series, by Miss K. D. 

Ewart. 



George Eliot's study, in preparation for writing. 

George Eliot, by Oscar Browning. 

Life and Letters, by Cross, vol, IL , 261, 262, 267, 269, 271, 
274, 275, 27S, 2S1, 2S2, 2S5, 286, 289, 291,- 294. 

For the historical account of Savonarola's visit to Lorenzo 
and of Lorenzo's death, mentioned in chapter i., see "Life and 
Times of Savonarola," by Villari, vol. I., pp. 145-149, (chap, ix.), 
and also "A History of the Commonwealth of Florence," by 
Trollope, vol. III., book VIII., chajx iv., pp. 460-464. 

Time of composition. 

George Eliot, by Oscar Browning. 

Life and Letters, by Cross, vol. II. , 265, 268, 269, 270, 278, 
2S1, 282, 2S4, 2S6, 28S, 2go, 291, 294, 300, 301. 

Visits to Florence. 

George Eliot, by Oscar Browning. 

Life and Letters, by Cross, vol. II., 16S-195, 229, 253-259. 

The Art of Fiction. 

The English Novel and the Principle of its Development, by 

Sidney Lanier. 
The English Novel, b}' Walter Raleigh. 
The Development of the English Novel, by W. L. Cross. 
Some Principles of Literary Criticism, by C. T. Winchester. 
The Novel — What is it? by F. Marion Crawford. 
The Technique of the Drama, by W. T. Price. 
Principles of Success in Literature, by G. H. Lewes, edited 

by F. N. Scott, published by Allyn and Bacon. 
Relation of Literature to Life, by C. D. Warner. 
Some Aspects of Fiction, by Brander Mathews. 
Criticism and Fiction, by W. D. Howells. 



Criticism. 

References for the study of criticisms upon George Eliot's books 
and. essays will be given before this course is concluded. Members of 
reading circles are most earnestly requested not to read criticisms 
upon Romola, the novel, or upon the author's characteristics as a 
writer of fiction, at present. Read whatever throws light upon her 
early life, her personalit)^, her mental characteristics, her methods 
of study and thought. 

" A man should learn to detect and watch that gleam of light 
which flashes across his mind from within." — Emerson. 

George Eliot's Definition of the Historical Novel. 

" Admitting that the genius that has familiarized itself with 
all the relics of an ancient period can sometimes by the force of 
its sympathetic divination restore the missing notes in the ' music 
of humanity' and reconstruct fragments into a whole which will 
really bring the remote past nearer to iis and interpret it to our 
apprehension — this form of imaginative power must always be 
among the very rarest, because it demands as much accurate 
and minute knowledge as creative vigor. . . . " 

"I want something different from the abstract treatment 
which belongs to grave history from the doctrinal point of view 
and something different from the schemed picturesqueness of 
ordinary historical fiction; I want belief, severely conscientious 
reproductions in their concrete movements of the past." — George 
Eliot's Essays. 

Note. — For Thackeray's conception of historical fiction see 
Essay on Steele, — English Humorists. 

Test in reading. 

The following quotations furnish a test to be appUed in read- 
ing Romola : 



"Although as a matter of fine art no character should have a 
place in a novel unless it forms an integral element of the storj', 
and no episode should be introduced unless it reflects some strong 
light on the character or incidents, this is a critical demand which 
only fine artists think of satisfying and only delicate tastes appre- 
ciate." — Principles of Success in Literature, by G. H. Lewes. 

" Perhaps even a judge so discerning as yourself could not 
infer from the imperfect result how strict a self-control and selec- 
tion were exercised in the presentation of details. I believe there 
is scarcely a phrase, an incident, an illustration that did not 
gather its value to me from its subservience to my main artistic 
objects. But it is likely enough that my mental constitution 
would alwajj^s render the issue of my labor something excessive — 
wanting due proportion. It is the habit of my imagination to 
strive after as full a vision of the medium in which a character 
moves as of the character itself." — Letter of George Eliot to R. H. 
Hut ton, about Romola. Life and Letters of George Eliot, vol. ii. , 
p. jog. 

NOTE-BOOK TOPICS. 

Preliminary. 

I. Time occupied in the composition of Romola. 
II. Number of visits made to Florence; time spent in the city. 

III. George Eliot's study in preparation for the writing. 

a. Subjects studied. 

b. Books read. 

For work throughout the course. 

IV. Chronology of the stoiy of Romola. 

V. List of characters acting in the novel. 

Enter the name at its first appearance, in the note-book, 
with reference to the page where it was found. 



Forecasts. 

These are hints about the future course of the story given 
in the earlier parts of the narrative. 

Means emploj^ed to give historical coloring; as, costumes, 

proverbs, etc. 
Antecedent material. 

Some writers construct a story antecedent to the one 
they tell which they impart to the reader by various 
devices without making it an integral part of the narrative. 

The beginning of the plot is always to be found in some 
incident, condition, or significant connection of persons, 
facts, or events, which is, in the causative sense, the start- 
ing point of the dramatic action, and which must be followed 
to a conclusion before the story as a work of art may be 
ended. Antecedent material is introduced through the 
need of accounting in a reasonable manner for conditions, 
relationships, etc., essential to the progress of the plot. 
Plot outlines. 

Those events or facts belong in a plot outline which 
detei'viine subsequent events. They give, in outline, the 
effective presentation of the theme and lead inevitablj' to 
the climax, and conclusion. It is necessarJ^ always to 
distinguish carefully between such events or facts as have 
determining force, and those incidents which are illustrative, 
or contribute to character building. 
Quotations. 

Select onl}' such quotations as are complete when severed 
from the context, and of great value for beauty of senti- 
ment, accuracy of anal5^sis, or clear statement of profound 
truth. Seek to find a few choice passages, rather than to 
make m&ny quotations. 



XI. References to any jiassage which seem to you unnecessary. 

Make reference to any paragraph which, in your o]iinion, 

could be omitted without loss. It is sometimes said that 

George Eliot overloaded her novels with the learning gained 

in her exhaustive study. 

.\ii. Characteristics of George Eliot, the author. 

Put here notes of any peculiarity wdaich seems to you to 
belong to George Eliot's work or habit of mind, with refer- 
ences to the illustrations that you have found. Do not 
look for such characteristics on the first page, or in the first 
chapter. They are there, but you should become familiar 
with an author before you venture to pronounce the pecul- 
iarity }'ou notice a characteristic. If it be such, other illus- 
trations of it will appear as you go on. 

XIII. A character for special study. 

As soon as you have made your selection, mark every 
item of the analysis, description, and development of the 
character chosen, in your copy of Romola. 

Note. — Probably no student will care to undertake all the 
note-book topics. Each should keep, in the note-book, or in the 
text, the chronology of the novel, a list of the characters, and an 
outline sliowing the plot elements by chapters. Those who have 
the time should also select one or more characters for study, and 
one or two topics, and give to them some special attention 
throughout the studj^ of the novel. Each topic is intended, if 
faithfully used, to furnish the material for some intelligent and 
critical opinion about the novel. 



DIRECTIONS FOR NOTE-BOOK WORK. 

Members of reading circles should have two note-books: one 
for the orderly arrangement of whatever results of study may be 
worth preserving; the other should serve as a kind of tabula 
erasa, for the making of notes while reading or listening to 
lectures. 

Note-book work is of three kinds. First, there is the collection 
of data about the author and the particular work studied; this 
should be done in the beginning. Secondly, there is the collection 
of data upon special topics suitable for investigation; such data 
will serve later as a basis of critical inquiry: for instance, if the 
date of the opening scene of the novel is entered in the note-book 
under the heading, " Chronology of the story," and each succeed- 
ing period of time is noted as the reader finds mention of it, he 
will know, in the end, the length of time covered by the dramatic 
action, how many intervals occur, etc. The collection of such 
data is, of necessity, preliminar}' to any critical comparison of dif- 
ferent novelists in regard to the time covered by their plots. It will 
be seen that the items to be entered under note-book topics iv. to 
xiii., inclusive, will be found singh- and at intervals throughout 
the novel. It is convenient to write each topic at the top of a 
page, with a ruled column at the left for references to the pages 
of the text where items are found. The reader should keep this 
note-book always at hand and enter, in the fewest possible words, 
any item coming under one of his topics. When a page is filled, 
he should refer at the bottom to the nearest page in the book 
which happens to be blank, and at the top of that repeat the topic 
title, with a reference to the former page. In this manner, it is 
easy to use one note-book for many topics, without confusion. 
Thirdly, there is note-buok work upon the topics of study. Many 
readers whose mental discipline is not such that they habitually 



organize the results of stud}', will find the use of the pen a great 
aid to definiteness of thought. After careful study, it is often 
profitable to summarize analytically the conclusions reached. 

The outline of plot elements, or the points noted in answer 
to questions, should be in convenient form for use in discussion. 

The following outline of plot elements called for in Topics for 
Study, section I., No. lo, will serve as an illustration: 

Plot elements: 

In chapter i. : The ring, the hints of mystery. 
In chapter ii. : Tito meets Tessa, Nello. 
In chapter iii. : Further hint of mystery. 

Nello proposes to introduce Tito to Scala, 
by means of Bardo. 
In chapter iv. : Tito meets Cosimo. 

The introduction of antecedent parts of the 
narrative. 
In chapter v. : The introduction of persons and facts of 
importance in the action. 
Romola, Dino, Bardo's blindness. 
In chapter vi. : Tito meets Romola. 
Tito will aid Bardo. 
Tito meets Bernardo del Nero. 
The note to Scala. 

Nero suggests the marriage to Bardo. 
In note-book work, it is a mistake to write full sentences or 
paragraphs. The note-book should contain, in outline, such 
facts, points, or references as will enable the student to recall in- 
stantly his proof, his argument, or his conclusions and analyses. 
This does not apply to definitions or critical estimates, which can- 
not be worded with too great care. 



THE USE OF THE TEXT, 
It is desirable to use a copy of the text not too valuable for 
marking. It is often convenient to note a series of facts by mar- 
ginal references, or words, such as "Theme," " Plot," etc., and it 
facilitates later study of the characters to write the initial letter of 
the name of each leading character in the margin whenever any 
description, analysis, or other indication of personality, occurs. 
It will then be possible to trace a given character through the 
narrative without re-reading. 

Pronounciation of Italian names. 
A few brief rules for the sounds of letters in Italian words are 
here given. Explanations and exceptions will be found in gram- 
mars. Nothing more than the furnishing of a little practical aid 
m the pronounciation of names for those who do not read Italian 
is here attempted. 

^"^ . - before a, o, ii, or a consonant. 

Z=-Z^ mgo, ) 

^ = ^^'"^^^i°'[ before^, or/. 

ci \ before a, o. ic, have the sounds of c, g, before c, or z, but 
gi [ the /is silent. Cm is pronounced c/ia. 

^ ■,]■ before e, or /, have the sounds of c, s", before a, o, ti. 
gh f ' -^ ' 

^^ ^^ \ but are enunciated more strongly. 

gl =11, in William, when followed by /before another vowel, 
gn = ny, the sound of n in canon. 
s = z, between two vowels. 
i y, at the beginning of a word. 
j = ee, at the end of a word. 

For the pronounciation of Roinola see "Life and Letters," 
letter to A. Main, Aug. 3, 1871. 



TOPICS FOR STUDY. 

BOOK I. SECTION I. CHAPTERS I-VI. 

The Proem. 

1. a. What device did George Eliot use for transporting the 

reader to the 15th century? 
/'. How did she create an impression of the essential 

identitj' of human life and interest in that century and in 

the present time? 
c\ If the spirit in the proem is that of a representative man 

of the 15th century, what were his characteristics? 

2. Of what special lines of study in preparation for writing 
Roniola do you find evidence in the proem ? 

Chapters I-VI. 

3. Why was the 9th of April chosen as the date of the first 
scene in Romola? 

4. a. How many characters are introduced in chapters i.-vi.? 

b. Which are likely to be important characters in the novel? 
Why do j'ou think so? 

c. Is each one of the characters introduced distinctly 
characterized? 

5. Make a brief analj^sis of each principal character as repre- 
sented in these chapters, including: 

a. Description of personal appearance. 

b. Impression given of disposition, traits of character, etc. 

c. Indications of important relationships between different 
characters. 

6. Is Bardo introduced for his own sake, or on account of his 
relation to other characters? What indications do j-ou find in 
pi'oof? 



From how many points of view, by means of persons, is 
Tito presented to the reader? How do these points of view 
differ? Is any one of them that which the author desired 
the reader to gain? 

If not, what is the view she wished to present to the 
reader? How does she present this view? 

Are there any elements in Tito's character, at the time when 
he is introduced to the reader, which make it probable that 
his life will be treacherous or dishonorable? Are there any 
elements of his character v/hich make a dishonorable or 
wicked life improbable? 

What is accomplished by the introduction of Bardo and 
Romola? 

a. Characteristics given Romola. 

b. Characteristics prepared for; i. e., what development 
of traits may be expected in Romola? 

c. Historical perspective; — how it is secured? Is it 
defective? 

d. What mental characteristics belonged to a scholar of 
the 15th century, as represented by Bardo di Bardi? 

What characteristics of the times, as different from our ov/n, 
have been emphasized in chapters i.-v. ? 

Chapters i.-vi. introduce the main characters. Does chap- 
ter i. open the plot? How? Does chapter ii. contain any 
development of the plot? What? Chapter iii? Chapter iv? 
Chapter v? Chapter vi? 

In what lies the beginning of the dramatic action, or plot, 
of Romola? Why? 

In the art of fiction, when the dramatic development is 
arranged in true sequence, the choice and combination of char- 
acters determines the future course of the plot. At the close of 
chapters i.-vi., what points of expectation and interest has the 
author of Romola created in the mind of the reader? 



13 

SECTION II. CHAPTERS VI-X. 

Chapter vi. 

14 Why did George Eliot introduce Bernardo del Nero at Tito's 
first visit in the Via de Bardi? 

Why is mention made of the death of Lorenzo? 

15. How had the family historj' prepared Bardo and Romola to 
welcome Tito? 

16. What were the important characteristics of the man, Bal- 
dasarre Calvo, as reported by Tito? 

Chapter vii. 

17. Why is the " learned squabble" introduced? 

Does it contribute to the plot? To the character building? 
To the background? To which chiefly? 

Chapter viii. 

iS. Does George Eliot give a clear idea of the feast of San 
Giovanni? 

Note. — An account of the manner in which Mid-summer Eve, 
(The Vigil of St. John the Baptist's Day), was observed in the 
various countries of Europe, especially in England, is found in 
Brand's " Popular Antiquities," pages 165-185. Neogeorgus, in 
" The Popish Kingdom," also gives an account of the rites ob- 
served in this festivity. 

A comparison of the various observances of the feast of San 
Giovanni with the description in chapter viii., shows the extent of 
the author's knowledge on this subject. It is noteworth3% however, 
that she makes no mention of the bonfires which Brand says 
were habitually lighted on Midsummer Eve in England and 



14 

France and, probably, in Spain. The running of the Corso at this 
time seems to have been peculiar to Florence. 

19. Why does she choose that Tito shall review the procession 
from Nello's shop? 

20. Give the special reason for connecting each of the following 
with this review: Savonarola, Bernardo del Nero. Tessa, 
Piero di Cosimo, the names of Bardo and Romola. 

21. What information about the political situation in Florence is 
given in this chapter? 

22. What points in the development of the plot are made in the 
account of the feast of San Giovanni? 

Chapter ix. 

23. Tito's first struggle : 

a. What were the reasons, on both sides, that influenced 
him? 

b. Did his decision give a permanent direction to his char- 
acter, from which he could not escape? 

c. Was Tito mercenary? 

Chapter x. 

24. If the Friar's message had come to Tito earlier, would his 
decision have been different? 

25. Tito did not love his foster-father; was the reason to be 
found in his own character, or in the character of Baldasarre? 



15 

SECTION III. CHAPTERS XI-XVII. 

Chapters xi., xv. 

26. How is chapter xi., "Under the Plane Tree," connected 
with the plot? Does it reveal any new traits in Tito? 

Chapter xii. 

27. What is accomplished in the novel by Brigida's visit? 
Note. — Suggested, in answer to 27, 

a. Reveals to Tito the relationship of Dino; (by what 
steps?) 

b. Hastens Tito's proposal. 

c. Gives another view of Savonarola. 

23. What was Tito's great regret when he won the promise of 
Romola's hand from Bardo? Is it consistent with your idea 
of his character? 

29. How do you explain Romola's inclination toward Tito? By 
similar traits of character? Would it have proved perma- 
nent had not outside events influenced the result? 
Note. — Suggested in answer to the first question of 29, 

a. By her love for the beautiful. 

b. By the absence of all that could repel her. 

c. By her possession of an imaginative mind. 

d. By physical attraction, similarity in tastes, etc. 

e. By her love for her father. 

f. By her longing for companionship. 
Note. — No such point should be accepted in the discussion 
imless supported by reference to proof found in the text. The 
reader's efforts should be directed solely to tracing the author's 
analysis, not to devising reasonable or possible explanations. 



i6 

Chapter xiii. 

:;o. What do ^^ou understand by the "Shadow of Nemesis"? 
What was George Eliot's reason for bringing Nemesis near 
Tito's life and then removing all apparent danger of it? 

31. Would the events of chapter xiv. have happened had it not 
been for the " Shadow of Nemesis?" 

32. Can you explain the inclination Tito felt toward both Tessa 
and Romola? Were both feelings genuine? Could both 
really exist at the same time? 

Chapters xv., xvii. 

33. What appear to have been Dino's reasons for becoming a 
monk? 

34. In the 15th century, how did men attempt to escape from 
sin and rise to a nobler plane of living than that of their 
fellows? 

35. What were the reasons for Romola's dislike of monks and 
of the church? 

36. What new influence was planted in Romola's mind by her 
visit to her dying brother? How would this new consciousness 
influence such a nature as Romola's? What connection with 
the development of the plot has this incident? 

37. What is the author's most important purpose in describing 
this interview, next to the one suggested above? 



17 
SECTION IV. CHAPTERS XVI-XX. 

Chapter xvi. 

38. What purposes are served by the chapter called " A Flor- 
entine Joke?" 

a. The conversation. 

b. The joke. 

Chapters xix., xx, 

39. The betrothal. 

a. What were Bardo's reasons for wishing Romola to 
marryTito? (Compare Bardo with Casaubon, in Middle- 
march. ) 

l>. George Eliot speaks of Romola's idea of Tito as a " vision 
woven from within." What was this idea? In what 
respects did it differ from the real Tito? 

c. Was Tito's idea of Romola more correct than her idea 
of him? How did it differ from her true character? 

d. Explain the motives which influenced Tito in present- 
ing Romola with the Ariadne. Has the painting of the 
Ariadne any other connection with the plot than its part 
in the betrothal? (Why did Cosimo object to Tito's 
money?) 

e. Why is this betrothal placed at the carnival time by the 
author? 

f. How mau}^ important elements in the complex lives of 
Tito and Romola does the author associate with their 
betrothal? 

g. Can you explain whj' George Eliot introduces the mum- 
mery at the end of chapter xx? 

Note. — The placing of this betrothal at the carnival 
time is an illustration of the care with which the plot of 
Romola is constructed. There seems to have been seven 
or eight considerations in the author's mind which determined the 
time of the betrothal and the incidents connected with it. 



i8 

SECTION V. GENERAL TOPICS. 

40. How many phases of Florentine life and thought have been 
presented in book I? 

These points are suggested in answer to 40 ; 

a. The religious life of Florence. 

b. The culture of Florence. 

c. Political parties in Florence. 

d. The relation of Florence to other independent states. 
g. The relation of Florence to Rome. 

41. What characteristics of the 15th century are presented in 
book I? 

Note. — Select especially such characteristics as would place 
the events definitely were no historical names or dates given. 

Villari mentions certain characteristics which seem to him 
important, in "Life and Times of Savonarola," book I., p. 45, 
George Eliot seems to have had other characteristics also in mind. 
Consult Symond's "Age of the Despots," chapter iii. 

42. What was the mental attitude of the different classes of 
society towards Christianity at this date? 

State clearly, in each case, what the mental attitude was. 

43. By what means has George Eliot created an impression of 
Savanorola's personality and influence, and carefully pre- 
pared for his entrance on the scene? 

Is this method more or less effective than it would have 
been to introduce him at once as a leading character? 
Note. — In book I., Savonarola is consistently kept in the back- 
ground, although everything points toward the entrance of some 
great figure. At first, we hear current gossip about the Frate's 
visions through the medium of the common people, and witness 
the profound impression created by the reports of his interview 
with the dying Lorenzo and the fulfillment of certain of his proph- 
ecies. Then, in the person of the pleasure-loving Brigida, the 



10 

author illustrates his influence upon general society in Florence 
and, at the same time, gives a popular version of the three great 
doctrines that he preached. In Dino's chamber, Savonarola, the 
devotee, enters, and we have a brief but powerful impression of 
his personality; we feel his great power of drawing men to him 
and of influencing them through the implanting of noble ideals of 
spiritual life. Again, in Nello's shop, we listen to the opinion of 
shrewd politicians and we hear the astute Machiavelli explain 
the sources of the Prate's influence. At each step, we see more 
clearly the real character of the man and come closer to the secret 
of his power. 

George Eliot's purpose in the presentation of Savonarola was 
double. She wished to reveal to the reader the man's rare and com- 
plex individuality and also to present the extent and character of his 
influence as a leader of the people, and his relation to the difficult 
politics of the times. Only by tracing every step of the process, 
is the critic able to detect the fine skill with which the author has 
placed this man in the reader's mind as the dominent figure in 
the background of Florentine life, 
44. The following topics in book I. illustrate George Eliot's habit 

of building up an efliect by slow degrees. Trace each one in 

outline. 

a. Romola's imaginary Tito. 

b. The introduction of antecedent material and the use of 
the ring. 

c. The growi;h oi fear as an influence in Tito's life. 

d. The Aveb of deceit, — when did it begin? By what steps 
did it grow? 

e. The creation of an impression of Savonarola's person- 
ality and influence. 

Note. — These topics illustrate the usefulness of marking the 
text, and of keeping notes. 



45- What is the author's key to Tito's character? 

How does this account for his decision about the jewels? 

Can you explain the necessity that Tito felt for Romola at 
the time when he supposed that Dino had revealed his secret 
to her? 

46. Do you consider Tito's course irrevocably taken at the close 
of book I? 

If you answer no, point out any possibility or probability 
of change that you see, either in the man's nature, or in the 
circumstances that surrounded him. 

If you answer yes, point out the time at which j^ou think 
the course of his life took so definite a direction that change 
of tendency was no longer probable. 

What would have been the course of Tito's life had Balda- 
sarre really died before Tito came to Florence? 

47. What is the theme of the novel, Romola, so far as it is 
apparent in book I? 

48. Make a suitable title for book I. 

49. What are the reasons for finding the main plot in Tito's life 
at the close of book I ? 

What are the reasons for not finding the main plot in Tito's 
life at the close of book I? 

50. What is the dramatic situation at the close of book I. ; that 
is, what are the unfinished sequelae, or threads of interest? 
Note. — A careful statement of the dramatic situation at a 

given moment, whether in a work of fiction or in a drama, must 
include all unexpended forces tending to, or adverse to, some 
center of action, and must indicate the different developments 
possible ; that is, the center of interest and suspense. 

51. Report on note-book topics, quotations, etc. 



BOOK II. 

ADDITIONAL REFERENCES FOR BOOKS II. AND III. 

Villari's Life of Savonarola, books XL, III., and IV. 

Trollope's History of Florence, vol. IV. 

Sj'mond's Age of the Despots, chapters vii., ix., x. 

The Venetian Republic, by Horatio F. Brown, pp. 326-392. 

The Renaissance in Italy, by Burkhardt. 

The Romanes Lecture, 1S97, Machiavelli, by John Morle}-. 

POINTS OF IMPORTANCE IN THE STUDY OF BOOK II. 
In the historical and political setting of the novel: 

a. The political situation in Florence and the cause of the 
coming of Charles VIII. 

b: The reason for the Pope's hostility to the city of Flor- 
ence. 

c. The political parties in Florence. 

d. The relation of Savonarola to these parties. 

e. The secret of Savonarola's power. 

In the plot: 

a. The selection of historical incidents in such a manner 
that they fairly represent important historical events and 
reveal in true proportion the influences that brought them* 
about and also are essential steps in the development of 
the plot. 

b. The crisis in Tito's life. 

c. The crisis in Romola's life. 

d. The connection between Tito's life and the political 
plot. 



e. In the life of Savanarola, the effect of an intimate con- 
nection with Florentine politics and of the struggle be- 
tween his desire to reform the church and his love of 
power. 

In the artistic construction of the novel: 

a. The bringing forward of the main plot so that gradually 
the underplot of which Tito's life is the centre is subordi- 
nated to the real artistic purpose of the novel. The ap- 
parent relation of the two plots in book I. is reversed in 
book II. 

b. The skill with which Savonarola's life is shown to be the 
dominant influence in the development of the plot, al- 
though he is constantly kept in the back-ground and is 
presented to the reader in the manner in which his life 
was related to his own times and to those that have fol- 
lowed. 

c. The skill with which complexity of character is repre- 
sented in the case of many different persons, so that the 
reader appreciates the presence, in each, of conflicting 
motives and is often unable to pass an absolute judgment. 

d. The parallel between the spiritual experiences of Rom- 
ola and of Savonarola. 

e. The fine self-restraint shown by the author in her use 
of rich historical materials, so that the plot nowhere 
weakens in its hold upon the reader's mind through his 
interest in the history. 

f. The care with which the true historical perspective 
and connection of events is preserved; nothing is col- 
ored or wrested from its true meaning for the sake of 
effectiveness in the novel. 



SECTION VI. CHAPTERS XXI-XXIII. 
Chapter xxi. 

52. What reason had Charles A^III. for coming into Italy? 

53. What was his claim to the throne of Naples? 

54. Why did the Duke of Milan invite him? 

55. What relation did Florence hold to Milan in this matter? 
To Naples? 

56. Was there any great danger to Florence in welcoming 
Charles? 

57. How did Savonarola regard the coming of Charles? 

58. What was Savonarola's conception of his own mission in 
the church? In the world? 

59. How does the author account for his hold upon the popular 
mind? 

60. What prophecies had Savonarola made before the death of 
Lorenzo? 

61. Did the author consider Savonarola's utterances truly 
prophetic, or how did she account for them? 

62. Would Savonarola have welcomed the coming of Charles 
had he been only a politician? That is, was his attitude 
determined by his religious zeal, or did he believe that there 
were sound political reasons for promoting an alliance 
between Florence and Charles? 

63. What were the first results to Florence of Charles' presence 
in Italy? 

64. How did Charles regard Florence? 

65. What was his attitude toward the Medici? 

66. What great change in Florentine politics had taken place 
since the Quaresima of 1492? 

67. What government was substituted for the rule of the 
Medici? 

68. What was the relation of Florence to Rome at this time? 



24 

Chapters xxii., xxiii. 

6g. How had Tito's position in the city changed in two years? 

a. What steps in the plot are gained by the incident of 
the prisoners? 

b. If you suppose that Tito acted by sudden impulse, or 
instinct, in saying, " some madman, surely," is the act 
to be explained by innate characteristics, or by previous 
trains of thought and conduct? 

c. If Baldasarre had not come upon Tito suddenly, if he 
had had time to act deliberately, what would he have 
done? 

70. Chapter xxiii. dwells upon a critical moment in Tito's life ; 

a. In what does its importance lie? 

b. Has the crisis in Tito's life any significance in the 
course of Romola's life, that is, in the main plot, oris it of 
importance chiefly in relation to her happiness? 



25 

SECTION VII. CHAPTERS XXIV-XXVIII. 

Chapters xxiv., xxv. 

71. What were the author's reasons for carrying Baldasarre 
into the Duomo? How did the sermon affect his mind? 

72. Is this sermon essential to the plot? 

73. Does it give any new conception of Savonarola? 

74. Was the Frate's audience fairly representative of the city, 
or only of certain classes and parties? 

75. How did this audience compare with his following, two 
years before? 

76. What effect did Savonarola desire to produce by his 
preaching? 

77. What elements of plot development are found in chapter 
xxv? 

Chapters xxvi., xxvii., xxviii. 

78. How had Tito changed in character in two years? 

79. Do you find any new influences at work in his mind? 

80. What was the attitude of the Florentines toward Charles 
on the day of his entrance? 

81. In what respects does George Eliot contrast the French and 
the Florentines? 

82. What part of the incident of Tito's speech is historical? 

83. Was there anything in Tito's character, as presented in 
book I. , which prepared you for the incident of the armor? 

84. What changes in Romola's life had taken place in eighteen 
months? 

85. What changes had taken place in her thought and char- 
acter? 

86. Had Romola's idea of Tito changed? How did she explain 
the change? 



26 

87- How did she explain the change in the relation between 
herself and Tito? 

88. Why had Romola formed the habit of going to the Duomo? 

89. How did Savonarola's preaching influence her? 

90. What impression was made on Romola's mind by the inci- 
dent of the armor? 

91. Does her feeling form an element in the plot? 

92. Had Romola lost faith in her father's purposes in life? 

93. There are two or three fine bits of character analysis in 
chapter xxviii, ; what are they? 

94. There is also in chapter xxviii. an incident of importance in 
the development of the plot; what is it? In what does its 
importance consist? 



27 

SECTION VIII. CHAPTERS XXIX. -XXXIV. 

Chapter xxix. 

95. What did " the most Christian king" demand? 

96. What was the historical ti'eaty between Charles and Flor- 
ence? 

97. What is the historical basis of the incident of Tito's speech, 
and of Capponi's part in making the treaty? 

98. Has George Eliot added or changed anything' 

99. What is the importance of this incident in the dramatic plot 
of the novel? 

100. Does it count as a step in the political plot which forms a 
back-ground for the dramatic plot? 

loi. Was it essential to Tito's plans that he should sell the 
library? 

102. Was there any real reason for not doing so except Romola's 
filial piety? 

103. Was a promise made to a dead father binding upon Tito 
and Romola under changed conditions? 

104. Why has the author chosen this time for the arrival of the 
painting of Bardo di Bardi? 

105. Why did she introduce Bernardo del Nero in Romola's 
home just at this time? 

106. How did Tito attempt to explain his sale of the library? 

107. What means of insuring Romola's compliance did Tito take? 

108. Did he wish to retain Romola's confidence and affection at 
this time? 

109. Was there any course possible, in regard to the sale of the 
library, by which Romola could have maintained the old 
relation between herself and Tito? 

no. What change in Romola dates from this time? In Tito? 



28 

Chapters Kxxi., xxxii. 

111. In these chapters, two plots are brought into connection; 
which is the main plot? How do you support your opinion? 
Note. — The answer to this question is of importance, as it 

should furnish an indication of the real theme, or artistic purpose, 
of the novel. Point out each plot element in this chapter and 
show the relation of each plot to the other. 

Chapters xxx., xxxiii., xxxiv. 

112. Sketch, in outline, Baldasarre's life. Do you consider his 
mental and moral condition the result of defects in his char- 
acter, or of misfortune? 

113. Why were all his relationships with fellow men a failure? 

114. What thwarting influences were at work in Baldasarre's life.-' 

115. What was the author's purpose in introducing the character 
of Baldasarre? 

116. Why does she make him incapable of accomplishing his 
revenge? 

117. Why did the confidence of Romola affect Tito so differently 
from the trust of Tessa? 

118. Wh)' does the author introduce the picture of Tessa saying 
her prayers beside her baby at this point in the narrative? 

119. What is the reason in the plot for connecting Baldasarre 
with Tessa's life? 

120. What motives impelled Tito to seek a reconciliation with 
Baldasarre? 

121. What would have been the result in Tito's life, had he 
effected the reconciliation with Baldasarre? How would it 
have affected his relations with Romola? 



29 

SECTION IX. CHAPTERS XXXV-XLI. 

122. a. What position in Florentine politics didTitotry toholcP 
I). What were his plans? What were his real ambitions? 

123. What were the real tasks before the city of Florence at the 

time of Charles' departure? 

124. What was the first step taken? 

125. What two forms of government were proposed? 

126. On the side of which was the influence of Savonarola? 

127. What was the ultimate object in this course? 

12S. Could he have kept himself free from politics at this time? 

Chapters xxxviii., xxxix. 

129. Why was Tito going to Rome? 

130. What was the position of Bernardo Rucellai? 

a. To what party did he belong? 

b. Is he a historical personage? 

131. Why did the Mediceans affiliate with the Frate's party? 

132. Why were they anxious to retain Tito? 

133. What inducements did they hold out to him? 

134. What was it expected that Tito would do? 

135. What were the most important things that Baldasarre 
gained in exchange for his broken dagger? 

136. What various purposes in the development of the plot are 
served by Baldasarre's appearance in the Rucellai gardens? 

137. What else in the supper in the Rucellai gardens is essential 
to the plot of the novel? 

13S. Did the evening in the Rucellai gardens cause any changes 
in Tito's character or plans? 

139. Did the attempt of Baldasarre injure Tito in any way? 

140. One key to the author's conception of Tito's character is 
found in chapter xxxix ; what is it? 



30 
Chapters xxxvi., xxxvii., xl., xli. 

141. Why did Romola go away? 

a. Was her act justifiable from a modern point of view? 
^. How did she herself justify it? 

142. What was the usual refuge of unhappy wives in Florence? 

143- Did Romola regret that she had married Tito? 

144- What plan had she made for her future life? 

145- Why did she carry Dino's cross with her? 

146. Why did not her trouble influence her to accept Dino's faith? 
147- Did George Eliot indicate here the manner in which spiritual 

help would finally come to Romola? 
148. What was the secret of Savonarola's influence over Romola's 

mind? 

149- What reason did Savonarola urge when commanding her 
to return? 

150. What motive finally influenced Romola in yielding? 

151. _ Did this yielding mark the change of any ruling principle 
in her life for a new one? Explain. 

152. What was Romola's mental attitude toward Christianity 
when she returned to Florence? 

153- What new impression of Savonarola do you get from this 
interview? 



SECTION X. GENERAL TOPICS ON BOOK II. 

154. Romola and Tito: 

Trace the influence of Romola upon Tito's character; was 
it for good? 

155. The Political Plot at the close of book II: 

a. The Parties. 

b. The Plots for the restoration of the Medici. 

c. Tito's connection with these plots. 

156. Savonarola's relation to the political situation: 

a. What different classes of Florentines belonged to the 
Prate's party? 

b. What elements of society were opposed to him? 

c. Wherein lay the real strength of his position? 

d. Wherein lay its weakness? 

e. For what ends was the Frate working? 

f. Do 5'ou perceive any sources from which reaction may 
arise? 

157- The Plot: 

a. At the close of the second book, what seems to you to be 
the theme of the novel? 

b. Trace the main plot in outline through the second book, 
showing how it has advanced, and every point at which 
subordinate plots have contributed to its development. 

c. What is the most important plot element connected with 
the life of Tito in book II? With the life of Romola? 
With the life of Savonarola? 

d. What are the incomplete threads of plot at the close of 
book II? 

158. a. What is the purpose of book I. in the plan of Romola? 
b. What is the purpose of book II. in the plan of Romola? 



32 

BOOK III. 

SECTION XI. CHAPTERS XLII-L. 

159. How long a time passed between the events narrated in 
book II., and those of book III.? 

160. For what purpose was the " League" organized? 

161. What States belonged to it? 

162. What special reasons for enmity to Florence had each of the 
following: the Pope? the Emperor? the small states? Venice? 
Genoa? 

163. What were the domestic difficulties of Florence at this time? 

164. What relief from these difficulties did the Frate's party 
hope for? 

165. What course did the disaffected advocate? 

166. What is the thread which connects the incident of the starv- 
ing prisoner in the street with the plot in the previous books? 

167. What do we learn of Romola in this scene? 

Chapters xliii., xliv. 

168. How had Romola passed the two years previous to the inci- 
dent of the prisoner? 

169. What changes in her character and habits of thought had 
taken place since her return ? 

170. Did she hold the common beliefs of the Church? 

What were the chief difficulties in Romola's life at this time? 

171. What was the real explanation of Savonarola's influence 
over her mind? 

1 72. What were the relations between Romola and Tito at this 
time? 

173. What were the author's reasons for making Romola view 
the procession? 

Note. — Not less than six reasons, each of distinct importance 
in relation to the plot, may be noted here. 



174- Is this incident historical? Did George EUot add anything 
or make anj'- change for the purpose of adapting it to her nar- 
rative? Is the impression given historically accurate? 

175. What changes had two years in prison made in Baldasarre? 

i7(>. Is there any essential element of the main plot in chapter 
xhv? 

Chapter xlv. 

177. Why did Machiavelli believe that Savonarola would fail? 
17S. Do you think his interpretation of Savonarola's character 

correct? 
179. Had George Eliot any special reason for attributing these 

opinions to Machiavelli? 
i?o. What was Tito's mission to Pisa? 
iSi. What was his secret mission? 
1S2. To what party did Tito give the impression of belonging, 

when in the barber shop? 

Chapters xlvi., xlvii. 

1-^3. Was the difficulty which kept Romola and Tito apart on his 
side, or on hers? 

154. What was the plot for capturing Savonarola? 

155. AVliy did the plotters wish to carry him into Roman terri- 

tOJ'V? 

156. Was Tito a well-chosen agent for the conspirators? 

157. Did Tito lie to Romola when he declared that the Frate 
should not go out of the city, or had he formed a resolution 
to that effect before she asked her question? 

I S3. Did Romola do a wise thing in compelling Tito to speak 

in Nello's shop? 
1S9. What were the indirect results of the frustration of this plot 

against Savonarola? 
Note here three points important in the further development of the plot. 



34 
Chapter xlviii. 

190. Did Tito believe liis own statement of the difficulty between 
himself and Romola? 

191. Was it necessary for the success of Tito's plans that he 
should take means of controlling Romola? 

192. What change in the relationship of Tito and Romola 
resulted from this incident? 

193. Was Romola responsible for the prevention of evil that Tito 
might do? 

Note. — In the first crisis of Romola's life, the question had 
been whether she could live with a man whose character and 
principles were wholly at variance with her own. She submitted, 
since it was herself only who suffered, and sought her real life 
outside of the home relation. In the second crisis of her life, she 
saw the evil that Tito did threatening the public welfare and the 
lives of those dear to her. Had she any responsibility as a citizen 
and a loyal friend? Was her dut)^ as a wife paramount when 
there were conflicting claims? 

Chapters xlix., 1. 

194. What was the old custom for which the Pyramid of Vanities 
was substituted? Villari, 44, 45, 132-139, vol. II., book III. 

195. What was Savonarola's purpose m making this change? 

196. Was the sentiment of Florentines, generally, in support of 
the new plan? 

197. How many different attitudes of m.ind toward the Pyramid 
of Vanities does the author represent? 

19S. What purposes in the plot are served by the Pyramid of 
Vanities ? 

199. Why does the author make Baldasarre a witness of Tessa's 
holiday? 

200. In which plot is the meeting of Romola and Tessa impor- 
ant? Why? 



35 
SECTION XII. CHAPTERS L-LXII. 

Chapters li., Hi. 

201. What is the importance of the incident about Brigida? 

202. How had the preaching of Savonarola changed, according- 
to George Eliot, since 1492? 

a. How is this change to be explained? 

203. AVhat was the eli'ect of her visit to Camilla upon Romola'-s 
inner life? 

204. What is the importance of this visit in the plot? 

205. What was Romola's great difficulty at this time? 

Chapters liii., liv. 

206. What was the purpose of the author in bringing Romola and 
Baldasarre together? 

207. What were the deepest feelings stirred in Romola by Bal- 
dasarre's revelations? 

20S. Was the evidence sufficient to warrant Romola in believing 

Baldasarre rather than Tito? What evidence on either side 

had she? 
209. Wh}^ did Romola visit her god-father immediately after 

her interview with Baldasarre? 
2to. What was the historical reason for the retreat of Piero de 

^Medici? 

211. Has his approach to the cit}'' gates any connection with the 
plot of this novel? 

Chapters Iv., Ivi. 

212. How did the excommunication of Savonarola affect Romola? 

213. What was the problem of Romola's inner life at this time? 

214. Did the finding of Tessa change Romola's feeling toward 
Tito? 

215. Why did she think, at this time, that it would be right for 
her to leave him? 



Chapters Ivii., Iviii, 

216. What was the bargain which secured Tito's safety when 
the Medicean conspirators were discovered? 

217. Why did he dislike this bargain? Had it any important 
bearing on his after life? 

21S. Why did Tito wish Romola to visit the Frate in the interest 
of Bernardo del Nero? 

2ig. What motives restrained Savonarola from using his influ- 
ence in favor of the appeal? 

220. Do you think that he made a mistake? 

221. Did Romola present any valid reasons? 

222. What was the relation of this interview to Romola's inner 
life? 

223. What was the purpose of the author in biinging these two 
leading characters face to face at this time? 

Chapter Ix. 

224. The trial of the conspirators. 

225. Why was it impossible to save Bernardo del Nero? 

226. Why is Machiavelli's conversation at the time of the execu- 
tion introduced? 

227. Which is more faithful to ordinary human experience, the 
emotions experienced by Tito at the time of the execution, or 
those that moved Romola? 

Chapters Ixi,, Ixii. 

22S. Where do you place the beginning of Romola's alienation 
from Savonarola? Trace the process. 

229. Of what did Romola accuse Savonarola m the reaction that 
followed the execution? 

230. What was the effect upon Romola of her loss of faith in 
Savonarola? 

231. Why did Romola leave Florence the second time? What 
did she seek? 

232. Had George Eliot any purpose, except the faithful delinea- 
tion of Romola's inner life, in describing her alienation from 
Savonarola? 



37 

SECTION XIII. CHAPTERS LXII-LXXII. 

Chapters Ixii., Ixiv. (See also previous chapters.) 

233. Reviewin outline Savonarola's contest with the Pope. What 
was the real issue between the Pope and Savonarola? 

234. By what means had the Pope sought to get Savonarola into 
his power? 

235. What means had Savonarola employed to frustate the Pope? 

236. With which party was the sympathy of the Christian world? 

237. Why was Savonarola excommunicated? 

23S. What was the effect of this excommunication upon the city 
of Florence? 

239. What was the attitude of the different parties toward it? 

240. What moral question did the excommunication present to 
Savonarola? 

How did he decide it? 

241. Were his motives in this decision personal, or did he believe 
that he sought the highest good of the church? 

242. Why was the threat of an interdict more alarming to Flor- 
ence than the excommunication? 

243. What are the practical results of an interdict? Illustrate by 
the history of one or more famous interdicts. 

244. Why did Savonarola make the appeal to heaven? 
What was the real result of that appeal? 

245. How does the historical incident compai'e with the naiTative 
in Romola? Villari, vol. li., 255. 

Has the appeal to heaven any importance in the plot? 

Chapters Ixiii., Ixiv., Ixv. 

246. What was the political scheme concealed in the ' ' Trial by 
Fire"? 

247. How did Dolfo Spini's understanding of this scheme differ 
fi'om Tito's idea of it? 



3S 

243. What was Savonarola's inward conflict in regard to the 
" Trial by Fire"? 

249. What was the effect of " The Trial by Fire " in Florence? 

250. What motives induced Savonarola to intrust his letters to 
Tito? 

251. What was his great plan? 

252. What motives induced Savonarola in his decision to call a 
council? 

253. Were there reasons for expecting a favorable result from 
this step? 

Note. — The calling of a council was not an act of insubordi- 
nation at this time. Charles VIII. had long considered summon- 
ing such a body. When in Rome, he had been urged to do so by 
no fewer than eighteen cardinals, especially by Giuliano della 
Rovere, who had been defeated by the gold of Alexander VI. in 
the last election. Moreover, the Doctors of the Sorbonne had 
voted in January, 1497, that the king had a right to take the 
step. The summoning of a council to consider the fitness of the 
Pope for his office was not without precedent. The council of 
Pisa, summoned by the Cardinals in 1409, had deposed both the 
rival Popes, and the general Council of Constance, in 1414, had 
proclaimed its superiorit}^ over the Popes and deposed John XXIII. 

On this subject, seeVillari's Life of Savonarola, vol. ii. , p. 291; 
Hallam's Middle Ages, part ii., chap. viii. ; Symond's Age of The 
Despots, chap, ix., p. 532; Burckhardt's Civilization of the Renais- 
sance in Italy, pp. 106, and no. 

254. Would Savonarola's plan of summoning a council have suc- 
ceeded if the letters had not been betrayed? 

Chapters Ixvi. , Ixxii. 

255. What was Tito's private scheme in the betrayal of Savona- 
rola? 



39 

256- Why did Ser Ceccone hate Tito? 

257. What was the occasion of the mob that attacked San Marco? 

25S. Was the pursuit of Tito by the mob an accidental incident? 

259. Trace Tito's political career in Florence with a view to 
showing whether it alone would have brought him to ruin ; 
can you explain his course apart from the secret fears that 
influenced him? 

260. At what point do you place the climax of Tito's career? 

261. At what point do you place the close of Tito's career? 

262. Where do you place the last important connection between 
the tmderplot and the main plot; that is, the last determining 
influence of events connected with Tito's life upon the course 
of the main plot? 

263. Do you think it true to art to make Baldasarre the one to 
deprive Tito of his last chance of life? 

264. AVhat influences did Tito bring to bear on Savonarola in 
order to induce him to send the letters at once? 

265. What part did the signory of Florence take in the capture 
and trial of Savonarola? 

266. What was the fate of Valori? 

267. What were the causes of Savonarola's downfall? 

26S. How do you explain the decaj^ of his influence in Florence? 

269. Do you consider his failure m any degree due to his own 
mistakes? 

270. How do ^^ou explain Savonarola's course under torture, and 
his silence at the end? 

For Savonarola's trial, see Villari's Life, vol. II., book IV., 
chapters ix., x., xi. 

271. On what charge was Savonarola condemned? What are 
the reasons for doubting the genuineness of the confession 
published as Savonarola's? 



40 

272. According to his own statement, do you consider Savonarola 
unrighteously ambitious? 

273. Did Savonarola beUeve in his own visions? 

274. Did Savonarola consider his own life a failure? 

275. What is the final judgment of the author concerning Savon- 
arola? 

276. What were the great conflicts of Savonarola's inner life, 
according to George Eliot? 

277. For what purposes and ideals has the life of Savonarola 
stood in history? 

278. What was Romola's mental condition at the time when she 
drifted away? 

279. How did help first come to her? 

280. What is the relation of her stay in the plague-stricken 
village to the plot? 

281. What motives impelled Romola to search for Tessa? 

282. How did Romola judge Savonarola at the time of his trial? 

283. Why was she so anxious for a last word from him? Why 
did he not speak it? 

284. Why has the author presented Savonarola at the time of 
his trial through the medium of Romola's mind? 

285. What was Romola's final judgment of Savonarola's life? 

286. What was Romola's solution of her mental difficulties and 
her final theory of life? 



41 
SECTION XIV. GENERAL TOPICS. 

I. Tito's character: 

a. Was Tito's character determined by innate characteristics 
or by the force of circumstances? 

b. Would Tito have been a better man if he had had a dif- 
ent wife? 

c. Discuss and criticise the author's analysis of Tito's 
character with reference to his story. What does she 
make the key to his character? Does this sufficiently 
account for his course? 

d. Is the character of Tito essential to the main plot? How? 

II. Romola's inner life: 

a. What were its conflicts? 

b. How was it influenced by Savonarola? 

c. To what extent was it determined by her connection 
with Tito? 

d. What were the crises of Romola's life? 

e. What was Romola's final theory of life? 

III. George Eliot's conception of Savonarola's character: 

a. His religious fervor. 

b. His zeal as a reformer. 

c. His political ambition. 

d. His ecclesiastical schemes. 

e. The author's explanation of Savonarola's character. 

f. Was his character consistent? If not, in what respects 
was it inconsistent? 

g. Do you consider it due to himself or to circumstances 
that he failed of being a great reformer? 



h. What do you consider the most important differences 
between the pui-poses and plans of Savonarola and those 
of Luther? 

i. Which man do you consider the more able? Why? 

j. Which man do 5'ou consider the stronger? Why? 

IV. Plot: 

a. What is the theme of the main plot? 

b. What is the theme of the underplot? 

c. What is the supreme moment of the main plot? 

d. What is the climax of the underplot? 

e. At what points is the underplot essential to the main 
plot? 

f. Is the life of Savonarola essential to the novel as a work 
of iiction? 

g. In what respects is the inner life of Romola similar to 
that of Savonarola? 

V. The historical character of the novel: 

a. Has the novel left in your mind any distinct impression 
of Florence as a mediaeval city? 

What characteristics had it? 

b. Has the author given you any distinct impression of 
Florentines as a race of men differing from the English 
speaking races? 

What important differences come easil}' to mind? 

c. Has the author conveyed an impression of the character- 
istics of the 15th century, as differing from other centuries? 
What were its characteristics? 

d. Has the author loaded the narrative with unnecessary 
historical material? 

Note. — If the answer is yes, definite passages must be 
pointed out in proof. Any historical material not essen- 



43 

tial to the developmeut of the plot or to antmderstanding- 
of the narrative may be regarded as unnecessary. 
e. Is the historical material essential to the novel or could 
its main purpose have been accomplished by scenes laid 
in the 19th century? 

VI. Characteristics of the author: 

Under this topic should be given those characteristics 
of George Eliot as a novelist which have become familiar 
through the study of Roinola. Each should be accom- 
panied by references to illustrations in the novel. This 
is also the place for the expression of critical opinions in 
regard to the qualities of the work of fiction, For instance, 
the reader notes the author's habit of presenting extended 
analj'ses of acts, motives, characters, etc. ]\Iany other 
writers suppress the analysis, trusting to the reader's 
power of interpretation. Did George Eliot err in confiding 
too freely her own mental processes to the reader? 



44 
SECTION XV. CRITICISM. 

The most thoughtful criticism of the novel Roniola to be 
found was written upon its publication in book form. Since this 
criticism, contemporary with the appearance of the novel, is not 
easily accessible, a brief abstract of it is presented here. 

The Saturday Review, vol. i6, p. 124, July 25, 1863. 

a. The author of Romola is much better in depicting 
English scenes and life; it is a pity that she should waste 
her time in overcoming the difficulties of the historical 
novel. 

b. She loads the book with too much antiquarian detail in 
her attempt to gain historical perspective. 

c. The historical characters introduced are unimportant 
and uninteresting, except Savonarola; Machiavelli was 
too young at the date of the story to be much used. 

d. The plot at the close is obscure; it includes too much 
complex, political life and thus obscures the treatment of 
the characters. 

e. Savonarola, as an element in the novel, is criticised; his 
character is not real and central. The close of the book 
is poorly managed and ineffective. 

f. The character of Romola is the best in the book, a great 
one in literature. 

g. The author of this article suggested that possibly 
George Eliot had exhausted her English field and for that 
reason attempted historical fiction. 

The Spectator, vol. 36, p. 2,265, Juty iS, 1S63. 

a. " What George Eliot's characters do is always subordi- 
nate to what they ar<?." 



r 
.0 



45 

b. " The purpose of the novel is to trace out the conflict 
between liberal culture and the more passionate forms of 
human faith." 

c. " There is not a more wonderful piece of painting in 
English Romance than the figure of Tito." 

The reasons given for this opinion are: 
(i) Tito is a fine representation of a Greek of that age. 

(2) There is a most subtle delineation of fear in his 
character. 

(3) He is made to attract other characters superficially, so 
as to connect his life with theirs, although he is so 
different. 

d. "Romola has a grain of hardness in her makeup which 

detracts from her power." "Ourownfeel- 

ing is that Romola is the least perfect figure in the book, 
although a fine one, that she is a shade more modernized 
than the others; several shades less an individual." 
. . ' ' We do not say that the character is not natural ; — 
we say it is oxAj balf revealed and more suggested than 
fully painted." 

The Athenaeum, July 11, 1863, p. 46. 

a. 'As a serial Rom.ola was not attractive, the minuteness 
of its historical detail wearied' in the serial publication. 
"Neither the politics nor the people of the book are 
alive ; they are dried and preserved." There is a theatri- 
cal element in the studied accuracy of details of dress, 
scenery, etc. 

b. " The character of Savonarola is the gem of the book ; 
it has been grasped and delineated with a wonderful 
force and truth that commends itself instinctivelj'- as a 
real presentment of the man. It is a historical studj- 
given with subtle insight and delicate shadowing. " 



46 

c. Tito's character is not successful; the character is 
vague as an image ; there is a weariness in his sayings 
and doings. 

d. Baldasarre's character is clever, but its weariness is 
painful ; it is long drawn out, and the s\'mpathy of the 
reader is fatigued. The final scene is ineffective. 

e. "As a novel, Romola cannot be called entertaining." 
. . . . ' ' It has not the powerful interest that is to be 
found in the author's other novels, but there are indica- 
tions of much higher powers of mind." 

f. The close is well managed, and successful. 

Notice that the authors of these reviews agree in regard to 
these particulars: 

a. As to the wonderful scholarship, accuracy and insight 
of the author. 

b. As to her faithful representation of the historical Savon- 
arola ; her understanding and interpretation of his char- 
acter is the most perfect ever given to the world. 

c. That Romola, however much criticised in detail, is 
great as a work of fiction. 

d. That Romola is greater as the embodiment of noble 
conceptions and great thoughts than as a work of fiction. 

They differ in regard to — 

a. The character of Romola. 

b. The character of Tito. 

c. The historical detail introduced, whether too much, 
whether well used. 

d. Savonarola as a character, an element in the novel. 

e. The conclusion of the novel. 



47 

Other references are: 

The Saturday Review, July 25, 1863. 

The Spectatoi", July iS, 1S63. 

The Athenaeum, July 11, 1863. 

Partial Portraits, by Henry James, p. 37 — "The Life of George 
Eliot." 

Literary Studies, by Joseph Jacobs, p. 3. — "George Eliot." 

George Eliot, by G. W. Cook. 

Essays of George Eliot, Introduction by Nathan Shephard. 

George Eliot and her Heroines, by A. G. Woolson. 

The English Novel and the Principle of its Development, 
by Sidney Lanier. 

Critical Miscellanies, p. 93-132, vol. 3, by John Morley. 

Jewish Portraits, by Lady Magnus. (Criticism of Daniel 
Derouda.) 

Studies in Literature, p. 290-310, by E. Dowden. 

Modern Guides of English Thought in Matters of Faith, p. 
145-299, by R. H. Hutton. 

Essays on English Literature, p. 1-12, and 251-309, and 465- 
494, by E. Scherer. 

Bibliography for the period since George Eliot's death will be 
found in the Literary World, Feb. 24, 1SS3; in the Library 
Journal, vol. vi. , p. 15. 

THE END. 



LIBRARY OF CONGRESS 



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014 434 662 2 # 



